"Z820"

At the 2014 Sundance Film Festival Adobe and HP expand on the strength and power of their partnership with multiple initiatives from live animation to working with top student filmmakers all leveraging the power of HP and Adobe Creative Cloud.

Just when you think you’ve got all the power you need for HD, along comes 4k and 6k and your system begins to show its age. 4k and 6k require massive computer resources in terms of processors, RAM and more so Colin will show you an HP solution that gives you everything you need for demanding workflows including Thunderbolt technology.

Colin takes us through the new HP ZBook while working in SpeedGrade including setting up the color accurate DreamColor display and taking advantage of the new Thunderbolt connectivity. With up to 32GBs of RAM and 2.8 TBs on internal drive space, this mobile workstation is in a class of its own

Shane Hurlbut of Hurlbut Visuals about the value of having the HP DreamColor display in his film production workflow. From controlling color on location using the DreamColor as his eyepiece for digital cameras to matching up colors in the edit bay this workflow eliminates time and money in his productions.

Red cameras are a dominate force in digital video today. Digital workflows for video and film productions are streamlining productivity and costs. Ted Schilowitz from RED Digital Cinema talks about the transformation that is happening to the film and video industry. He recommends the HP Z820 Workstation for use with their Red Cameras: RED ONE, EPIC and SCARLET because of its insane amount of RAM, rock solid stability, NVIDIA Graphics, Intel's latest dual Xeon processors, and their RED ROCKET Card.

In this episode, Dave gives you a quick tour of the new HP Z820 workstation tied together with NVIDIA's Maximus technology working in Premiere Pro CS6 and After Effects CS6. See how these 2 technologies take your workflow to the next level of compute power.

In another user requested video, Colin answer the question that many Mac users are wondering - how hard is it to move to Windows? Colin explores just how easy it is to move your FinalCut Pro 7 projects into Premiere Pro CS6 on Windows. He also invites Terry Brown from HP to join him to see exactly what all the excitement is over HP hardware and why RED Digital Cinema has chosen a Windows platform for massive performance gains.

On June 30th at the X Games in Los
Angeles, CA, Team Hot Wheels made history with one of the most daring stunts in the world: the Hot Wheels Double Loop Dare.
Video editor Jeff Tober, a long time Avid and Final Cut Pro editor, and the team at Bandito Brothers filmed the stunt with a total of 36 RED EPIC, Canon DSLR, and Go Pro cameras and then edited the footage in Adobe Premiere Pro on an HPZ820 RED Edition workstation in less than three hours for posting on the Mattel website and YouTube. Watch this video to learn more about how the Hot Wheels stunt film was created and how the crew overcame the tight timeline and other challenges in this shoot.

On June 30th at the X Games in Los
Angeles, CA, Team Hot Wheels made history with one of the most daring stunts in the world: the Hot Wheels Double Loop Dare.
Video editor Jeff Tober, a long time Avid and Final Cut Pro editor, and the team at Bandito Brothers filmed the stunt with a total of 36 RED EPIC, Canon DSLR, and Go Pro cameras and then edited the footage in Adobe Premiere Pro on an HPZ820 RED Edition workstation in less than three hours for posting on the Mattel website and YouTube. Watch this video to learn more about how the Hot Wheels stunt film was created and how the crew overcame the tight timeline and other challenges in this shoot.

On June 30th at the X Games in Los
Angeles, CA, Team Hot Wheels made history with one of the most daring stunts in the world: the Hot Wheels Double Loop Dare.
Video editor Jeff Tober, a long time Avid and Final Cut Pro editor, and the team at Bandito Brothers filmed the stunt with a total of 36 RED EPIC, Canon DSLR, and Go Pro cameras and then edited the footage in Adobe Premiere Pro on an HPZ820 RED Edition workstation in less than three hours for posting on the Mattel website and YouTube. Watch this video to learn more about how the Hot Wheels stunt film was created and how the crew overcame the tight timeline and other challenges in this shoot.

On June 30th at the X Games in Los
Angeles, CA, Team Hot Wheels made history with one of the most daring stunts in the world: the Hot Wheels Double Loop Dare.
Video editor Jeff Tober, a long time Avid and Final Cut Pro editor, and the team at Bandito Brothers filmed the stunt with a total of 36 RED EPIC, Canon DSLR, and Go Pro cameras and then edited the footage in Adobe Premiere Pro on an HPZ820 RED Edition workstation in less than three hours for posting on the Mattel website and YouTube. Watch this video to learn more about how the Hot Wheels stunt film was created and how the crew overcame the tight timeline and other challenges in this shoot.

Product Manager Al Mooney shows how to apply adjustment layers, similar to those in After Effects and Photoshop, to apply effects and have the effects automatically modify all of the underlying tracks.

Russell Brown talks about how to get the most out of Photoshop by using the right tools. In this case, he’s using an HP Z210 Workstation powered by Intel Xeon processors and an HP EliteBook 8560w Mobile Workstation when he goes on the road.

This new effect gives you the ability to create the optical effect of a real camera lens blur. If you need to add depth to a scene, or obscure something in the frame, Camera Lens Blur will do that and make it look completely realistic. You also have complete control parameters like iris shape, blur maps, super whites, gain and threshold.

Are you looking for the Tasks that you’re used to in Soundbooth when you start using Adobe Audition 5.5? Colin will show you a step by step walkthrough between to the two applications, pointing out where the same operations are in Audition. He’ll also point out that Audition is much more powerful at all the tasks you’re used to using in Soundbooth, including Noise Reduction, Time Stretching, Automatic Click Remover, DeHummer, Looping and more. The fact that he’s demonstrating all this on his “wicked fast” HP Z800 workstation makes Audition all the more powerful.

Colin’s back showing off how fantastic his Z800 workstation performs with the new Adobe 5.5 software. In this episode he shows you how to send a complete Premiere Pro sequence to a multitrack project in the new Adobe Audition 5.5. From there he shows how you can add effects to individual clips, or complete tracks with lots of built-in effects or support for VST and AU plug-ins. Once complete, this project can be send back to Premiere Pro CS5.5 or exported to OMF or Final Cut Pro XML.

Premiere Pro CS5.5 improves the speed with which you can render nested sequences. You can literally nest sequences into sequences and you’ll get the benefits of the Mercury Playback Engine using both the CPU and the GPU or Graphics Processing Unit on an Nvidia card with CUDA. Throw the HP Z800 workstation into the mix and you see rendering speeds like you have never seen before.

Colin takes advantage of the HP Z800’s massive horsepower combined with the raw speed of the 64-bit Adobe Media Encoder 5.5 to show you how you can output different versions of your comps using a combination of After Effects, Dynamic Link and Media Encoder, while working on new composites, without missing a beat.